Ratings and Reviews by OtisTDog

Having been recently alerted to this remake/adaptation, I moved its inspiration up on my to-play list, and as soon as I had finished that, I loaded this up to compare.

This game isn't really interactive fiction, but it's certainly IF-adjacent, and the fact that it exists at all is pretty awesome. I have nothing but admiration for the skill and determination shown in carrying this idea through from conception to a finished game. Substantial thought was invested in how to translate the original work's mood and mechanics to a different format, and it's clear that the author had a genuine love for Veeder's source material. Thank you to Lance Campbell for sharing this, and thank you Ryan Veeder for supporting the effort.

I'm not sure how well this version stands up when considered purely on its own. Some of the nuance of the original's atmospheric writing is lost in the graphical interpretation, and the not-quite-faux grittiness that makes up the emotional backbone of the original doesn't quite come through. On the other hand, there are many novel bits here that hew closely to the original's dialog and descriptive style, and there are a few touches (like the ending credits sequence) that wouldn't be possible with pure text. There's the hint of a secret side quest of some sort -- (Spoiler - click to show)I found an item that seemed like it was supposed to be part of something bigger, but if so I never found the other parts that went with it. If you know the secret, please provide some clues by comment!

As a reminder, 3 stars counts as "good" in my book, and I would definitely recommend this game to anyone that enjoyed the original Mud Warriors. Both can be played in the time that would normally be spent on a single comp-sized work.

Monopoly is one of the most popular games in American history. There's something telling about modern culture's inattention to history in the fact that many years passed between when I was first introduced to the game as an enjoyable pastime and my discovery that the game's designer intended it to be an object lesson-in-action of the inherent flaws in capitalism as an econonomic system.

If one actually plays Monopoly according to the rules as written, it is inevitable that from among a group of players all starting on an objectively even playing field only one will emerge as the sum holder of all wealth in the model universe. That result is simply baked into the system -- there's no avoiding it, and that's what playing Monopoly is supposed to teach the player. It also teaches various skills related to improving the chances of being the player who comes out on top, though the nature of the game ensures that there's never any real certainty until late in the trajectory of a particular play session.

Social Democracy: An Alternate History feels very much like Monopoly, both in that it plays like a board game and that it has a lesson to teach. Here the lesson seems to be about the essential fragility of democracy-like government and the functional priority of economic concerns in determining societal stability. You play the animus of the SPD, a "moderate" and "socialist" party that, despite a plurality of popular support at the outset, seems inevitably doomed to lose as the country suffers a series of economic and political shocks.

I've only played Social Democracy a few times, on normal difficulty. As other reviewers note, the simulation feels well-grounded in historical research -- I have learned a surprising amount about the Weimar era just from following up on key people and events online, and the work presents an extensive bibliography that invites more serious study. Needless to say, this work does not present the History Channel style of faux history that usually paints Hitler's rise as the result of some mysterious magical power over the German people; instead it shows the confluence of many trends in interwar history -- including the history of the SPD itself -- and how they shape both the choices available and the consequences of each decision.

As with Monopoly, both strategic choices and lucky breaks compound over the course of time. As the political pressure builds, the player will inevitably come to the point where the party's mode of survival is threatened. The resolution of that threat can take various forms, each imposing tradeoffs that will shape the range of viable strategies available in later parts. Will you sponsor strong socialist approaches involving state control of the means of production and the pruning of private wealth? OK, but then the "conservative" elements of the "centrist" coalition will become enemies, and support from the communist party is likely to be restrained at best. Will you throw in with the right wingers in an attempt to prevent the far right from gaining a foothold? OK, but then you will soon find yourself an ineffectual puppet supporting policies that are in direct opposition to your base's desires, and they will react accordingly. Will you stick to your historically "middle ground" position and try to ride out the storm? OK, but you will in all likelihood find the storm to be stronger than you anticipated and your steersman skills to be insufficient to come through intact.

These are just a few of the trajectories supported by the game's system. The list of achievements and various clumps of related cards suggest that there are many more. I'm looking forward to trying quite a few of them, and seeing what unconventional strategies are supported by the system that author Autumn Chen has created. Mike Russo's comparison to one of Paradox Entertainment's grand strategy games is apt, and if you like that sort of thing then you won't want to miss this. For those looking for something more directly comparable, Chen has also just released a similar treatment of the Russian Revolution.

While I don't personally think this game falls under the label of "interactive fiction," it does fit under the broader umbrella I assign to the phrase "text games." It's worth emphasizing that the label is secondary to the thing itself, and that this thing, whatever you choose to call it, is well worth your time. I'm giving it a rare 5-star rating in recognition of its singular value as edutainment; it is surely the apex of that category for works found on IFDB.

Given the release date, slapdash cover image and minimal blurb, my first thought was that this game was an April Fool's joke, or possibly malware. It does not appear to be malware.

This unusual work puts the player in the position of an IT support worker in a nebulous corporate setting. The strange tone and disconnected gameplay makes it seem more like a half-written training tool instead of something intended as entertainment. Its concise but bland language, heavy on bullet points, smacks of LLM-generated text.

As far as plot goes, the action is split into four phases. In the first phase, the PC is given a stack of problem reports for which prioritization must be assigned. Once this is done, the PC must investigate a particular scenario more closely. In the third phase, correction of the problem must be accomplished. The fourth phase seems intended to be a kind of team review with a supervisor.

From what I can tell, the required interactions are highly scripted and are basically spelled out in each section. Starting in phase 3, cause and effect start to break down, because in order to advance it seems necessary to take an action not called for based on other information. Phase 4 is quite strange, seeming to indicate that the exercise went both poorly and well at the same time.

Other than idle curiosity, there doesn't seem to be much reason to interact with this work unless you want to be exposed to a smattering of terms and processes relevant to corporate IT support. Although this work meets the minimum functionality that would normally qualify it for at least two stars by my rubric, I still think most people are better off avoiding it entirely.

In 1993, everyone knew that "text adventures" were a dead genre, but, as has been lovingly documented by Jimmy Maher and others, a few people here and there labored in obscurity to keep the nascent art form of interactive fiction alive. Art LaFrana was one of these, someone who eschewed the semi-commercial offerings of the time such as TADS and crafted his own custom system for MS-DOS.

The Abbey, LaFrana's second work (which is not to be confused with the 2008 title of the same name by Steve Blanding), received more attention than might be expected for a shareware entry with an extremely primitive parser. A review in SPAG Magazine by Cedric Knight suggests that it was considered worth paying for even 8 years after its release. I don't think I would have agreed at the time, but in an era when so few new games that even looked like a text adventure were being produced, it may have seemed a more attractive option than it does today.

To say that the game has a parser is being somewhat generous; my own interaction suggests that it is a simple keyword-matching system that doesn't really try to parse the player's command in any meaningful way. For example, a command such as >PUSH WAGON EAST will be interpreted the same as >PUSH WAGON or even just >PUSH. This doesn't matter as much as it might because the ratio of interactable objects to rooms is alarmingly low by modern standards, and the majority of the player experience is simple room navigation.

Other reviewers stress the text's ability to evoke an atmosphere, and I have to admit that I also found this to be the case -- but I don't understand it. It's really quite puzzling; the text is "evocative" in a paradoxical way in that on first reading it seems flat and uninspired but after extended exposure a fairly vivid mental picture of the environs emerges in one's mind. I'm not sure how much I can credit the author for this; in some ways it almost seems akin to the phenomenon of hallucinations experienced during sensory deprivation. (Is this the part that I've never understood about the appeal of Scott Adams games?)

Although the game is listed under the "Historical" genre, it certainly doesn't seem to be a very accurate portrayal of its ostensible period. (For example, the language of NPCs and signage can be anachronistically modern.) That's not to mention that Atlantis seems to have been a real place in the game universe.

It does seem more intent on historical accuracy with respect to architecture and living conditions. A large number of basically empty rooms are used to describe the sights and smells of the abbey complex, and I assume that this aspect is modeled after some real historical place -- there just doesn't seem to be any other motivation to include non-functional locations such as a pigsty. I have no special historical expertise by which to judge its correctness here, but it does feel believable.

The puzzles were to me the bad kind of old school, being based largely on intuition (which might not match the author's) and/or requiring a long series of essentially unmotivated steps without intermediate feedback. The largest part of player effort by far will be spent on creating a map, which is an essential step because room descriptions sometimes omit exit listings. Since I was trying to play this on a schedule (for the People's Champion Tournament) and wasn't finding anything to savor, I resorted to a walkthrough after a few hours, and I don't regret doing so.

I was ready to like this one, but in the end I found it to be a poor substitute for a proper parser, player-friendly puzzle design and minimally-interesting story. I'm tempted to go with one star, but, as mentioned, in the end it did end up engaging my imagination, and that part was enjoyable. I can't say I'd recommend it other than as example for someone studying the earliest examples of the form. Its most lasting impact might, ironically, have come from Knight's review: Inform 6's Standard Library 6/11, released afterward, implements many of the variations of the verb "pry" that he complained were missing in this game.

In my limited experience, works by Ryan Veeder never fail to delight on some level; if nothing else his signature wit is always good for a chuckle and tends to cast a rosy glow around the memory of playing. Winter Storm Draco is no different from any other Veeder work in this respect, and it easily clears the hurdle of "good" in my evaluation.

It's not "great," though. It feels like a piece primarily created as an opportunity for experimentation. The emphasis here is on challenging standard player expectations for interface elements, especially the "opening crawl" of the timed introductory text and status line modification during the unanticipated and delightful (Spoiler - click to show)"swordfight" scene taking place in (Spoiler - click to show)a cemetery. The latter was the apex of the experience, especially coupled with the highly-abbreviated commands and very short responses that lent a videogame-like feel to the action by greatly accelerating its pace.

For an opening act, the PC becomes lost in the woods during heavy snowfall and must use boy scout/junior MacGyver skills to figure out the way home. The interaction is a little fiddly and specific here (as I recall specifically around (Spoiler - click to show)pouring liquids), which is in unwelcome contrast with the solid puzzle design.

Mystical elements begin to intrude on the scenario, which shifts the tone ever more in the direction of survival horror as the PC continues to make progress. At the climax, the PC encounters (Spoiler - click to show)a personification of the storm which may or may not be (Spoiler - click to show)a Mayan god in the vanguard of a 2012 end-of-the-calendar apocalypse. I was thrown out of the story at this point, mostly wondering how much of it was supposed to be real and how much the hallucination of a PC freezing to death. Although that kind of ambiguity can serve a story well, there didn't seem to be much in the way of revelation on the PC's part to lend any drama to the scene, and at the end I was left shrugging my shoulders.

Perhaps there's more to the climax than I experienced, but the entertainment-oriented style of Veeder's prose doesn't invite a very deep analysis, and the work's brevity contributes to its lightweight feel. This game is still definitely worth a playthrough, and I don't hesitate to recommend it as an enjoyable short play experience to the average player or a study in technique for the would-be author of action sequences.